Behringer FX2000 User manual

User Manual

VIRTUALIZER 3D FX2000

High-Performance 3D Multi-Engine Effects Processor

2 VIRTUALIZER 3D FX2000 User Manual

Table of Contents

Thank you ....................................................................... 2

Important Safety Instructions ...................................... 3

Legal Disclaimer ............................................................. 3

Limited Warranty ........................................................... 3

1. Introduction ............................................................... 5

2. Effects Algorithms ..................................................... 7

3. Operation ................................................................. 13

4. Applications ............................................................. 17

5. MIDI Functions of the FX2000 ................................ 19

6. Installation ............................................................... 19

7. Appendix .................................................................. 21

8. Specifications ...........................................................25

Thank you

In purchasing the BEHRINGER VIRTUALIZER 3D you have acquired an extremely efficient multi-effects processor that offers first class reverberation effects and a number of other algorithms. The FX2000 has 71 new effects types, and thanks to its logically structured user interface, it can be used easily and intuitively.


Important Safety

Instructions

Terminals marked with this symbol carry electrical current of suffi cient magnitude to constitute risk of electric shock. Use only high-quality commercially-available speaker cables with

1/4" TS plugs pre-installed. All other installation or modifi cation should be performed only by qualifi ed personnel.

dangerous voltage inside the enclosure - voltage that may be suffi cient to constitute a risk of shock.

This symbol, wherever it appears, alerts you to the presence of uninsulated

This symbol, wherever it appears, alerts you to important operating and maintenance instructions in the accompanying literature. Please read the manual.

Caution

To reduce the risk of electric shock, do not remove the top cover (or the rear section). No user serviceable parts inside. Refer servicing to qualifi ed personnel.

Caution

To reduce the risk of fi re or electric shock, do not expose this appliance to rain and moisture. The apparatus shall not be exposed to dripping or splashing liquids and no objects fi lled with liquids, such as vases, shall be placed on the apparatus.

Caution

These service instructions are for use by qualifi ed service personnel only.

To reduce the risk of electric shock do not perform any servicing other than that contained in the operation instructions. Repairs have to be performed by qualifi ed service personnel.

1. Read these instructions.

2. Keep these instructions.

3. Heed all warnings.

4. Follow all instructions.

5. Do not use this apparatus near water.

6. Clean only with dry cloth.

7. Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.

8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus

(including amplifi ers) that produce heat.

9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding-type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fi t into your outlet, consult an electrician for replacement of the obsolete outlet.

10. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.

11. Use only attachments/accessories specifi ed by the manufacturer.

12. Use only with the cart, stand, tripod, bracket, or table specifi ed by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.

13. Unplug this apparatus during lightning storms or when unused for long periods of time.

14. Refer all servicing to qualifi ed service personnel.

Servicing is required when the apparatus has been damaged in any way, such as power supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.

15. The apparatus shall be connected to a MAINS socket outlet with a protective earthing connection.

16. Where the MAINS plug or an appliance coupler is used as the disconnect device, the disconnect device shall remain readily operable.

LEGAL DISCLAIMER

TECHNICAL SPECIFICATIONS AND APPEARANCE

ARE SUBJECT TO CHANGE WITHOUT NOTICE.

THE INFORMATION CONTAINED HEREIN IS CORRECT

AT THE TIME OF PRINTING. ALL TRADEMARKS ARE

THE PROPERTY OF THEIR RESPECTIVE OWNERS.

MUSIC GROUP ACCEPTS NO LIABILITY FOR ANY

LOSS WHICH MAY BE SUFFERED BY ANY PERSON

WHO RELIES EITHER WHOLLY OR IN PART UPON

ANY DESCRIPTION, PHOTOGRAPH OR STATEMENT

CONTAINED HEREIN. COLORS AND SPECIFICATIONS

MAY VARY FROM ACTUAL PRODUCT. MUSIC GROUP

PRODUCTS ARE SOLD THROUGH AUTHORIZED

FULLFILLERS AND RESELLERS ONLY. FULLFILLERS AND

RESELLERS ARE NOT AGENTS OF MUSIC GROUP

AND HAVE ABSOLUTELY NO AUTHORITY TO BIND

MUSIC GROUP BY ANY EXPRESS OR IMPLIED

UNDERTAKING OR REPRESENTATION. THIS MANUAL

IS COPYRIGHTED. NO PART OF THIS MANUAL MAY

BE REPRODUCED OR TRANSMITTED IN ANY FORM

OR BY ANY MEANS, ELECTRONIC OR MECHANICAL,

INCLUDING PHOTOCOPYING AND RECORDING OF ANY

KIND, FOR ANY PURPOSE, WITHOUT THE EXPRESS

WRITTEN PERMISSION OF MUSIC GROUP IP LTD.

ALL RIGHTS RESERVED.

© 2011 MUSIC Group IP Ltd.

Trident Chambers, Wickhams Cay, P.O. Box 146,

Road Town, Tortola, British Virgin Islands

LIMITED WARRANTY

§ 1 Warranty

(1)

This limited warranty is valid only if you purchased the product from a MUSIC Group Authorized Reseller in the country of purchase. A list of authorized resellers can be found on BEHRINGER’s website behringer. com under

“Where to Buy“, or you can contact the MUSIC Group offi ce closest to you.

(2) MUSIC Group* warrants the mechanical and electronic components of this product to be free of defects in material and workmanship if used under normal operating conditions for a period of one (1) year from the original date of purchase (see the Limited Warranty terms in § 4 below), unless a longer minimum warranty period is mandated by applicable local laws. If the product shows any defects within the specifi ed warranty period and that defect is not excluded under § 4, MUSIC Group shall, at its discretion, either replace or repair the product using suitable new or reconditioned product or parts.

In case MUSIC Group decides to replace the entire product, this limited warranty shall apply to the replacement product for the remaining initial warranty period, i.e., one (1) year (or otherwise applicable minimum warranty period) from the date of purchase of the original product.

(3)

Upon validation of the warranty claim, the repaired or replacement product will be returned to the user freight prepaid by MUSIC Group.

(4)

Warranty claims other than those indicated above are expressly excluded.

PLEASE RETAIN YOUR SALES RECEIPT. IT IS YOUR PROOF

OF PURCHASE COVERING YOUR LIMITED WARRANTY.

THIS LIMITED WARRANTY IS VOID WITHOUT SUCH PROOF

OF PURCHASE.

§ 2 Online registration

Please do remember to register your new BEHRINGER equipment right after your purchase at behringer. com under “Support” and kindly read the terms and conditions of our limited warranty carefully. Registering your purchase and equipment with us helps us process your repair claims quicker and more effi ciently.

Thank you for your cooperation!

§ 3 Return materials authorization

(1) To obtain warranty service, please contact the retailer from whom the equipment was purchased.

Should your MUSIC Group Authorized Reseller not be located in your vicinity, you may contact the MUSIC Group

Authorized Fulfi ller for your country listed under


“Support” at behringer. com. If your country is not listed, please check if your problem can be dealt with by our “Online Support” which may also be found under

“Support” at behringer. com. Alternatively, please submit an online warranty claim at behringer. com BEFORE returning the product. All inquiries must be accompanied by a description of the problem and the serial number of the product. After verifying the product’s warranty eligibility with the original sales receipt, MUSIC Group will then issue a Return Materials Authorization

(“RMA”) number.

(2)

Subsequently, the product must be returned in its original shipping carton, together with the return authorization number to the address indicated by

MUSIC Group.

(3)

Shipments without freight prepaid will not be accepted.

§ 4 Warranty Exclusions

(1)

This limited warranty does not cover consumable parts including, but not limited to, fuses and batteries.

Where applicable, MUSIC Group warrants the valves or meters contained in the product to be free from defects in material and workmanship for a period of ninety (90) days from date of purchase.

(2) This limited warranty does not cover the product if it has been electronically or mechanically modifi ed in any way. If the product needs to be modifi ed or adapted in order to comply with applicable technical or safety standards on a national or local level, in any country which is not the country for which the product was originally developed and manufactured, this modifi cation/adaptation shall not be considered a defect in materials or workmanship. This limited warranty does not cover any such modifi cation/adaptation, regardless of whether it was carried out properly or not. Under the terms of this limited warranty, MUSIC Group shall not be held responsible for any cost resulting from such a modifi cation/adaptation.

(3)

This limited warranty covers only the product hardware. It does not cover technical assistance for hardware or software usage and it does not cover any software products whether or not contained in the product. Any such software is provided “AS IS” unless expressly provided for in any enclosed software limited warranty.

(4)

This limited warranty is invalid if the factoryapplied serial number has been altered or removed from the product.

(5) Free inspections and maintenance/repair work are expressly excluded from this limited warranty, in particular, if caused by improper handling of the product by the user. This also applies to defects caused by normal wear and tear, in particular, of faders, crossfaders, potentiometers, keys/buttons, guitar strings, illuminants and similar parts.

(6)

Damage/defects caused by the following conditions are not covered by this limited warranty:

• improper handling, neglect or failure to operate the unit in compliance with the instructions given in

BEHRINGER user or service manuals;

• connection or operation of the unit in any way that does not comply with the technical or safety regulations applicable in the country where the product is used;

• damage/defects caused by acts of God/Nature

(accident, fi re, fl ood, etc) or any other condition that is beyond the control of MUSIC Group.

(7)

Any repair or opening of the unit carried out by unauthorized personnel (user included) will void the limited warranty.

(8) If an inspection of the product by MUSIC Group shows that the defect in question is not covered by the limited warranty, the inspection costs are payable by the customer.

(9)

Products which do not meet the terms of this limited warranty will be repaired exclusively at the buyer’s expense. MUSIC Group or its authorized service center will inform the buyer of any such circumstance. If the buyer fails to submit a written repair order within 6 weeks after notifi cation, MUSIC Group will return the unit C.O.D. with a separate invoice for freight and packing. Such costs will also be invoiced separately when the buyer has sent in a written repair order.

(10)

MUSIC Group Authorized Resellers do not sell new products directly in online auctions. Purchases made through an online auction are on a “buyer beware” basis.

Online auction confi rmations or sales receipts are not accepted for warranty verifi cation and MUSIC Group will not repair or replace any product purchased through an online auction.

§ 5 Warranty transferability

This limited warranty is extended exclusively to the original buyer (customer of authorized reseller) and is not transferable to anyone who may subsequently purchase this product. No other person (reseller, etc.) shall be entitled to give any warranty promise on behalf of MUSIC Group.

§ 6 Claim for damage

Subject only to the operation of mandatory applicable local laws, MUSIC Group shall have no liability to the buyer under this warranty for any consequential or indirect loss or damage of any kind. In no event shall the liability of MUSIC Group under this limited warranty exceed the invoiced value of the product.

§ 7 Limitation of liability

This limited warranty is the complete and exclusive warranty between you and MUSIC Group. It supersedes all other written or oral communications related to this product. MUSIC Group provides no other warranties for this product.

§ 8 Other warranty rights and national law

(1)

This limited warranty does not exclude or limit the buyer’s statutory rights as a consumer in any way.

(2)

The limited warranty regulations mentioned herein are applicable unless they constitute an infringement of applicable mandatory local laws.

(3)

This warranty does not detract from the seller’s obligations in regard to any lack of conformity of the product and any hidden defect.

§ 9 Amendment

Warranty service conditions are subject to change without notice. For the latest warranty terms and conditions and additional information regarding MUSIC Group’s limited warranty, please see complete details online at behringer. com.

* MUSIC Group Macao Commercial Off shore Limited of

Rue de Pequim No. 202-A, Macau Finance Centre 9/J, Macau, including all MUSIC Group companies


1. Introduction

In order to generate an extremely natural reverberation, we at BEHRINGER have developed new kinds of algorithms for virtual acoustics. These algorithms will help you calculate all room and reverberation parameters with absolutely professional quality and naturalness.

In spite of this extensive and calculation-intensive work performed by the

24-bit processor in the FX2000, the VIRTUALIZER 3D is very easy to handle.

Changing parameters to achieve a specific sound is simple. There are 100 presets available to store your own programs.

The FX2000 includes excellent reverb and delay programs, but that’s not all.

Besides the classic plate reverb simulations, the VIRTUALIZER 3D will impress you with its excellent modulation effects (like chorus, flanger and phaser), which were extended to include special variations like a musical pitch shifter, a tremolo, and a rotary speaker simulation. The FX2000’s dynamic and psychoacoustic effects allow you to do without a number of additional pieces of equipment. The FX2000 also offers you a series of distortion and amplification sounds that are combined with a speaker simulation. Thus, as a guitarist in recording situations, you can achieve an excellent sound on tape or hard disk, even without a speaker cabinet. Besides its logical and simple operation, the VIRTUALIZER 3D’s technical equipment is also impressive. The following points ensure signal processing at a professional level:

• Extremely low-noise and exact 24-bit A/D and D/A converters.

•

•

A professional sample rate of 46 kHz guarantees a high signal resolution for a frequency response of 20 Hz to 20 kHz.

The 24-bit processor features dual engine software; these two sections process audio input independently.

•

◊

As for all BEHRINGER products, the highest quality components and controls are used.

The following instructions will give you a brief run-down on the terminology and functions of the VIRTUALIZER 3D. After reading, please store this manual in a safe place for future reference.

1.1 The concept

BEHRINGER uses an uncompromising selection of components. The heart of the

BEHRINGER VIRTUALIZER 3D is a 24-bit DSP, which, due to its exceptional technical specifications, is regarded as one of the finest building blocks. With it come the first class 24-bit A/D-D/A converters, guaranteeing a precise conversion of audio signals. Narrow-range tolerance resistances and capacitors, high-grade switches, and other selected components are all very high in quality.

The VIRTUALIZER 3D was manufactured on the basis of SMD technology

(Surface Mounted Device). The use of sub-miniature building blocks known from space flights allows not only an extreme packing density but also ensures an increased dependability. The FX2000 was manufactured under ISO9000 certified management system.

1.2 Before you get started

The VIRTUALIZER 3D was carefully packed in the factory to ensure safe transport.

Nevertheless, if the box shows signs of damage, please check the equipment immediately for any signs of external damage.

◊ Damaged units should NEVER be sent directly to us. Please inform the dealer from whom you acquired the unit immediately as well as the transportation company from which you took delivery of the unit.

Otherwise, all claims for replacement/repair may be rendered invalid.

◊ To assure optimal protection of your FX2000 during use or transport, we recommend utilizing a carrying case.

◊

◊

Please always use the original packaging to avoid damage due to storage or shipping.

Never let unsupervised children play with the FX2000 or with its packaging.

◊ Please dispose of all packaging materials in an environmentallyfriendly fashion.

The BEHRINGER VIRTUALIZER 3D requires one standard 19" rack unit of space

(1 3/4"). Please leave an additional 4" installation depth to allow connections at the rear side.

Make sure that there is adequate ventilation and do not place the VIRTUALIZER 3D on top of an amplifier, which could cause overheating.

◊ Before connecting the VIRTUALIZER 3D to the mains, carefully check that your equipment is set to the correct voltage:

The fuse holder on the female mains connector has 3 triangular markings, with two of these triangles opposing each other. The VIRTUALIZER 3D is set to the operating voltage printed next to these markers and can be set to another voltage by turning the fuse holder by 180°. CAUTION: This instruction does not apply to export models exclusively designed, e.g. for

120-V operation!

Connection to the mains is made by a mains cable with an IEC receptacle that complies with the required safety regulations.

◊ Please make sure that the unit is grounded at all times. For your own protection, you should never tamper with the grounding of the cable or the unit itself. The unit shall always be connected to a mains socket outlet with a protective earthing connection.

◊ Installation and operation of this equipment must be carried out by competent staff only. Both before and after installation, the staff using the equipment should make sure that it is properly grounded since otherwise electrostatic discharge etc. can lead to an impairment of its operation. For more information, see chapter 6 “Installation”.

The BEHRINGER VIRTUALIZER 3D is equipped with electronically servo-balanced inputs and outputs. The circuit design features automatic hum suppression for balanced signals and thus ensures trouble-free operation, even at the highest operating levels. Externally induced mains hum, etc. can therefore be effectively suppressed. The automatic servo-function recognizes the presence of unbalanced connectors and adjusts the nominal level internally to avoid level differences between the input and output signals (6-dB correction).

The MIDI connectors (IN/OUT/THRU) are standard DIN plug connections. The data communication is isolated from ground by opto-couplers.

1.3 Online registration

Please register your new BEHRINGER equipment right after your purchase by visiting http://behringer.com and read the terms and conditions of our warranty carefully.

Should your BEHRINGER product malfunction, it is our intention to have it repaired as quickly as possible. To arrange for warranty service, please contact the BEHRINGER retailer from whom the equipment was purchased. Should your

BEHRINGER dealer not be located in your vicinity, you may directly contact one of our subsidiaries. Corresponding contact information is included in the original equipment packaging (Global Contact Information/European Contact

Information). Should your country not be listed, please contact the distributor nearest you. A list of distributors can be found in the support area of our website

(http://behringer.com).

Registering your purchase and equipment with us helps us process your repair claims more quickly and efficiently.

Thank you for your cooperation!


1.4 Control elements

Fig. 1.1: VIRTUALIZER 3D front panel

The BEHRINGER VIRTUALIZER 3D’s front panel includes five edit controls

(non-intermittent rotary controls), a jog wheel (big rotary control), six parameter keys, an LED display and a mains switch. Each of the two fully independent channels can be monitored with an 8-digit LED meter.

(1)

(5)

(2)

Fig. 1.2: Display section of the VIRTUALIZER 3D

(6) (7) (8) (9) (10)

Fig. 1.3: Function keys, controls and jog wheel

(3)

(4)

(1) Both the LED chains display the intensity of the input signal in dB in relation to the nominal level, which is selected on the rear panel with the

OPERATING LEVEL switch.

(2) After you switch on the VIRTUALIZER 3D, you can read the name of the last used effect on the LED display. When editing, the LED display shows the parameter’s name along with a 4-digit alpha-numeric display that shows the absolute parameter’s value.

•

•

(3) To the right of the LED display are four STATUS LEDs which indicate the type of value you are working with. You may do any of the following: set the absolute value of an effect parameter (“%”), increase or decrease the amplitude or determine the threshold point of the compressor (“dB”),

• modify a frequency (“Hz”) or

• modify a time parameter (“sec”).

(4) The ALGORITHM GROUPS LED CHAIN indicates which category the selected effect belongs to. Altogether the FX2000 offers eight different algorithm groups.

(12)

(13)

(11) (14) (15)

(16) (17) (18)

(5) Every preset in the FX2000 allows you to edit at least four effect parameters.

The EDIT-LED-CHAIN indicates which parameters are adjusted by the four

EDIT CONTROLs. If the top LED lights up, (6) controls the parameter EDIT A,

(7) controls EDIT B, (8) helps in changes of parameter EDIT C and with (9) you change the setting of parameter EDIT D. If the middle LED of the EDIT-

LED-CHAIN lights up, the four EDIT CONTROLs modify the parameters that are arranged to its left and right. The lower LED functions correspondingly.

◊ For the exact meaning of the individual effect parameters, see chapter 7.1.

(6) With the 1st EDIT CONTROL (non-intermittent rotary control) you change the values of the first (EDIT A) and fifth (EDIT E) effect parameters. You can also select MIDI functions (MIDI) with the 1st EDIT CONTROL. Press the EDIT key (13) to switch from EDIT A to EDIT E and vice versa. You reach the MIDI function by pressing the SETUP key (16).

(7) The 2nd EDIT CONTROL allows you to modify the values of effect parameters EDIT B and EDIT F. When you select the INPUT parameter with the help of the SETUP key, you can specify whether the FX2000 functions mono or stereo mode (see chapter 3.6.2 for more information).

(8) The 3rd EDIT CONTROL modifies the values of effect parameters EDIT C,

EQ LO, and the global OUTPUT parameter (see chapter 3.6.3). Here, as well, you select among them using the EDIT and SETUP keys.

(9) With the 4th EDIT CONTROL, you modify the values of effect parameters

EDIT D, EQ HI, and the global parameter CONFIG (see chapter 3.6.4). Use the

EDIT and SETUP keys to choose between the parameters.

◊ During editing, you can rotate one of the four EDIT CONTROLs minimally to display a brief description of the current parameter active. This can help you know that, for example, EDIT A controls the pre delay for all reverb effects of the VIRTUALIZER 3D. After approximately one second the name is erased and the parameter’s current value is displayed.

This function can be used only by operating one of the controls that has not yet been selected.

(10) By turning the MIX/BYPASS CONTROL the effect levels of most effect algorithms are set in the range from 0 to 100%. If you select 0%, the signal at the inputs of FX2000 is transferred directly to the outputs without adding any effects (the signal is completely dry). If you select 100%, only the effected signal is sent to the outputs (the signal is completely wet).

◊ If you use the FX2000 in the aux bus with your mixing console, you should always set this value at 100%. if you’re using the FX2000 with a guitar amplifier (in a serial effects loop), we suggest settings between 20 and 50% (depending on the amplifier type).

◊ Please note that, for the effects “parametric” and “graphic EQ”, the MIX/BYPASS CONTROL allows a gain correction by rotation.

To bypass the FX2000’s effects, press the MIX/BYPASS CONTROL. This allows you to compare between the original and the effected signals. Press the

MIX/BYPASS CONTROL again to deactivate the bypass and return to your chosen effect. When the MIDI IN LED below the control flickers, it indicates that MIDI data is arriving at the MIDI IN port.


(19)

Fig. 1.4: VIRTUALIZER 3D rear panel

(20) (21) (22) (23) (24)

◊ Both the MIX/BYPASS CONTROL and the four EDIT CONTROLs react dynamically. This means that, depending how fast you rotate the wheels, the present parameter is changed in steps of 1, 2, 5 or 10.

The faster the rotation, the greater the change in the parameter value.

(11) To select one of the 200 presets, press the PRESET key once, then rotate the

JOG WHEEL (17).

(12) To select one of the 71 basic effect algorithms, press the EFFECT key once, then rotate the JOG WHEEL. For information on the parameter values that are set for the basic effect algorithms, see chapter 7.4.

(13) To select the EDIT CONTROL function (see (6) - (9)), press the EDIT key.

(14) When you make changes to a user preset, the STORE key’s LED begins to blink. The FX2000 comprises 100 user presets for your own settings and

100 factory presets (see separate preset sheet). To save your changes, press the STORE key. Select a storage space (number) with the Jog Wheel and confirm it by pressing the STORE key again.

(15) If you have made changes to a preset and the LED of the STORE key is blinking, you can press the COMPARE key to temporarily restore the preset’s original settings. While these settings are loaded, the COMPARE key’s LED blinks and “COMP” appears in the LED display. Press the COMPARE key again to return to edit mode and store your changes.

(16) To enter SETUP mode, press the SETUP key. In setup mode, you can access the parameters shown below the four EDIT CONTROLs. For more information about SETUP mode, see chapter 3.6.

(17) To change a parameter’s value, rotate the JOG WHEEL. To increase the value, turn the wheel clockwise. To decrease the value, turn the wheel counterclockwise. If none of the edit functions is selected, you can select a program directly with the Jog Wheel. When you do so, a spot lights up in the

LED display. As long as the spot is illuminated, a program can be selected without making the corresponding settings immediately audible. This brief signal suppression means that during quick selection of presets with the

Jog Wheel, not every preset is activated directly. If the Jog Wheel is not turned for a second, the spot in the LED display disappears and the program is loaded.

(18) Use the POWER switch to power up your FX2000. The POWER switch should always be in the “Off” position when you are about to connect your unit to the mains.

◊ To disconnect the unit from the mains, pull out the mains cord plug.

When installing the product, ensure that the plug is easily accessible.

If mounting in a rack, ensure that the mains can be easily disconnected by a plug or by an all-pole disconnect switch on or near the rack.

(19) FUSE HOLDER / VOLTAGE SELECTION. Before connecting the FX2000, confirm that the voltage display matches your local mains voltage.

When replacing the fuse, you must always use the same type. In many units the fuse holder can be installed in one of two positions, allowing you to switch between 230 V and 120 V. If you wish to operate a unit outside

Europe at 120 V, then a stronger fuse must be used. (For more information, see chapter 8 “SPECIFICATIONS”). The mains connection is made via the IEC receptacle. An appropriate mains cable is included.

(20) The FX2000 has wide-ranging MIDI implementation. MIDI IN, MIDI OUT, and MIDI THRU connectors are available for transmitting MIDI commands.

(21) SERIAL NUMBER. Please complete and return the warranty card within

14 days of the date of purchase. Otherwise, you will lose your right to the extended warranty. Alternatively, you can register online at our website under behringer.com.

(22) The FX2000’s balanced OUTPUTs are designed as 1/4" TRS and XLR sockets.

(23) To switch between -10 dBV (home recording level) and +4 dBu

(professional studio level), use the OPERATING LEVEL SWITCH. When you switch between the two, the level displays are automatically changed to the nominal level and the VIRTUALIZER 3D operates in its optimal working range.

(24) Both of the VIRTUALIZER 3D’s INPUTs are also available as balanced 1/4" TRS and XLR sockets.

2. Effects Algorithms

All effects of digital effects equipment are based on various algorithms.

An algorithm for a reverb effect, for example, is programmed differently than a chorus algorithm. Each effect has a certain algorithm with which the digital input signal is processed. The processing takes place within the digital signal processor

(DSP). After the effect is generated and the input signal is mixed, the digital signal is converted back into an analog signal with a D/A converter.

You can edit up to seven parameters for each preset in the VIRTUALIZER 3D.

The changes you make will influence the sound in different ways. An overview of the FX2000’s various effects algorithms follows.

2.1 Reverb algorithms

REVERB: As the term suggests, a “reverb” is a reverberation effect. The reverb can be considered as the most important effect in a mix-down or a live event.

The FX2000 offers 12 different reverberation programs so that you have a suitable reverb for every situation. Cathedral simulates the dense, long reverberation of a large cathedral, which is appropriate for solo instruments or vocals in slow pieces. Gold Plate simulates the sound of plate reverberators and hence is a classic for drums (snare) and vocals. Small Hall simulates a small, lively (strongly reflecting) hall. With Room, you can clearly hear the walls of the room. Studio represents a small- to middle-sized room. With Concert, you can select between a small theater and a large hall. Stage is well suited to dissipating the sound of a keyboard or an acoustic guitar. Spring Reverb simulates a classic spring reverberation. Ambience reproduces a room impression without late reflections. With Early Reflections, the initial reflections of a room are clearly audible.

GATED REVERB: This effect synthetically cuts off reverberation after a period of time. It is famous in the song “In the Air Tonight” by Phil Collins.

REVERSE REVERB: This is a reverberation in which the envelope is reversed—it slowly gets louder.


Parameter

Pre Delay

Decay

Hi Decay Damping

Size

Diffusion

Wall Damp.

Bass Mul.

Low Cut

Metal Resonance

Reflections

Shelver Damp.

High Cut

Stereo Width

Reverb Mod.

ER/Rev.

Density

Function

Time until arrival of first reflection(s)

Duration until the reverb tail is damped

Damps high frequencies in the reverb tail

Size of the plate reverb/the room impression

Degree of wall diffusion (reverb density)

Degree of damping of the wall material

Amplification/damping of low frequencies in the reverb tail

Frequency of Low Cut Filter 1 at the input stage

Intensity of metal resonances

Number of initial reflections

Damps Shelving Filter 2 at the input stage

Frequency response of spring reverb (Spring Reverb)

Stereo depth of the effect

Modulation intensity of the reverb tail

Intensity ratio between initial reflections and reverb tail

Intensity of reflection envelope build-up (Gated / Reverse Reverb)

Tab. 2.1: Functioning of the reverb effects’ parameters

1 High pass filter, allows the frequencies above a specific cut-off frequency to pass and damps the frequencies below that."

2 Upper or lower cut-off frequency of an equalizer.

2.2 Delay algorithms

STEREO DELAY: A delay of the input signal. Different tempo settings allow interesting delay effects.

TAPE ECHO: Similar to the stereo delay, with the difference being that the repetitions have less presence. This simulates the character of the original tape echo that was used before the digital era and can be thought of as a

“Vintage Sound”. The tape echo’s reflections include high and low pass filters.

PING PONG: A delay effect with changing stereo positioning, where the time intervals between the repetitions can be changed.

Parameter

Delay Left

Delay Left Coarse

Delay Left Fine

Delay Right

Delay Right Coarse

Delay Right Fine

Feedback

Feedback Left

Feedback Right

Feedback Delay Left

Feedback Delay Right

Feedback HP

Feedback LP

Damping

Function

Length of left delay (Tape Echo / Ping Pong)

Length of delay time (left) in 100 ms steps

Length of delay time (left) in 1 ms steps

Length of right delay (Tape Echo / Ping Pong)

Length of delay time (right) in 100 ms steps

Length of delay time (right) in 1 ms steps

Repetition(s) for both channels

Repetition(s) for the left channel

Repetition(s) for the right channel

Delay of the left feedback

Delay of the right feedback

High pass cut-off frequency of repetition(s)

Low pass 1 cut-off frequency of repetition(s)

Low pass frequency within the delay feedback loop

(Tape Echo)

Tab. 2.2: Functioning of the delay effects’ parameters

1 Filter, allows the frequency below a particular cut-off frequency to pass and damps the frequencies above that."

2.3 Modulation and pitch shifter effects

FLANGER: The word “flange” means “tape spool”, and this explains the characteristics of the effect. Originally the flanger effect was generated with two tape recorders which ran synchronously. The same audio signal was recorded on both machines. If you put a finger on the left spool of one of the machines, the spool and the playback speed are slowed down. The generated delay results in phase shifting of the signals. Vintage Flanger simulates a guitar flanger effect pedal and Jet Stream Flanger sounds like a classic analog flanger.

CHORUS: This effect slightly detunes the original signal. A very pleasant detune effect is created in connection with the pitch variation. The chorus effect is quite often and extensively used for dispersing signals. Analog Chorus simulates a guitar chorus effect pedal, while Vintage Chorus imitates a classic analog studio chorus. Ultra Chorus creates the sound of an eight-person vocal chorus.

PHASER: With the phaser, a second, phase shifted signal is added to the original audio signal. The resulting sound is thicker and above all livelier. This effect is often used for guitar sounds and keyboards. In the 70s, it was also extensively used for other instruments like electric pianos. Here, Vintage Phaser represents a guitar phaser effect pedal. Dual Phaser processes the left and the right channels separately.

LESLIE: The simulation of a classic effect that is normally generated with a very heavy enclosure with a (slow or fast) rotating speaker: The bass speaker

(drum) is covered by a partly opened rotating cap, while both of the high pitch horns (horn), displaced by 180°, revolve around the same perpendicular axis.

Here, the physical principle of the Doppler effect for modulation of signals is used.

PITCH SHIFTER: This effect changes the pitch of the input signal. You can generate musical intervals and harmonies or simply a single voice. Detuning by several semitones upward alienates voices (and is used often in cartoons).

Here, you can choose among a stereo, two, and three vocal pitch shifter.

At the left stop of Edit C the pitch shifters 1 and 2 are synchronized to a stereo pitch shifter. Pitch shifter 3 can be switched off by turning Edit E fully counterclockwise.

VIBRATO: For this effect, the peak frequency of a tone is periodically and uniformly changed (quickly or slowly). It is often used for guitar playing.

TREMOLO: This effect was originally found on guitar amplifiers, and is once again trendy. It is a fast or slow periodic variation of the volume.

AUTO PANNING: This sound effect, which was very popular in the beginnings of stereo technique, is achieved by allowing a sound source (often the lead guitar or a synthesizer) to wander from one end of the stereo image to another or by just letting it wander repeatedly.


Parameter

Speed

Semitones 1

Semitones 2

Semitones 3

Cents 1

Cents 2

Cents 3

Drum Depth

Horn Depth

Balance

Stereo Spread

Stereo Phase

Wideness

Base

Drive

LFO 1

Depth

Delay

Feedback

Wave

Mode

Wave

Auto Modulation

Feedback LP

Damping

Function

Speed of modulation

Sets the curve of the modulation

(triangular, sinusoidal, rectangular)

Modulation depth (L & R)

Length of delay

Routes back the processed signal to the input stage

Sets the curve of the LFO (Sine, Tri, Opto, Square,

Saw Up, Saw Down)

Pitch Shifter 1: detuning in semitones



Pitch Shifter 1: detuning in cents



Intensity of amplitude modulation of the bass loudspeaker (Leslie)

Intensity of amplitude modulation of the high pitch horn (Leslie)

Volume ratio between horn and drum

Stereo effect intensity

Phase angle between left and right modulation

Parameter variation (Ultra Chorus)

Starting point of modulation

Intensity of tube distortion

Selects various effect modes or between three modes with increasing modulation intensity (Stereo Phaser)

Influences LFO frequency (dependent on input level)

Low pass cut-off frequency of feedback

Limits frequency range to simulate older chorus units

(Stereo / Vintage Chorus)

Tab. 2.3: Functioning of the modulation and pitch shifter effects’ parameters

1 (Low Frequency Oscillator): determines the speed and nature of modulation effects.

2.4 Dynamic effects

COMPRESSOR/LIMITER: When the signal level exceeds the level control limit of the signal-processing unit, it must be limited dynamically to avoid distortions.

This is achieved by installing a compressor or a limiter. The limiter abruptly limits the signal above a specified threshold, while a compressor acts “softly” over a large range. The Analog Compr/Limiter is modeled after a famous analog compressor unit.

EXPANDER: Background noises of all types (noise, humming etc) limit the dynamic range of the actual signal. As long as the level of the actual signal lies significantly above the background noise, the noise is inaudible.

The interference signal in this case is masked by the actual signal. The expander is used to effectively expand the dynamic range of signals. Signals with small amplitudes (such as background noise) can be weakened, thereby reducing the background noise.

GATE: On stage and in studios, there are diverse applications where a noise gate is needed. For example, microphones that tend to cause feedback can be “defused”. In addition, you can use a gate to eliminate unwanted noise.

When used on vocals, for example, the signal is simply masked during pauses, thus eliminating all noise. Needless to say, a gate used on vocals has to open very quickly—otherwise, the first syllables of soft or whispered passages would not be audible.

ULTRAMIZER: The ultramizer function divides the sound spectrum into two frequency bands and, as a result, allows inaudible but extremely effective compression. This is especially helpful during mix-down. The FX2000 analyses the received audio material and automatically adjusts input gain and compression parameters.

DENOISER: The denoiser is used to eliminate or reduce noise and other interference.

DE-ESSER: A problem often encountered in recording situations, is the sibilant

(Ssss) sound of the human voice. The de-esser is used to remove strong hissing sounds from the audio signal.

WAVE DESIGNER: Using this effect, you can influence the envelope of a signal by specifying its volume. A (= Attack) indicates the time a tone needs to reach its full volume. R (= Release) determines how long it takes before a tone dies away.

Parameter

Ratio 1

Threshold

Limiter Threshold

M-Gain

Gain L

Gain R

Soft Knee

Attack 3

Attack L

Attack R

Release 4

Release L

Release R

Hold 5

Range

Density

Speed

Split Frequency

Stereo FX

Enhancer Frequency

Band

LP Frequency

LP Depth

LP Speed

Gate Hold

Gate Response

Gate Threshold

Frequency

Tab. 2.4: Functioning of the dynamic effects’ parameters

Function

Degree of compression (Compressor) / expansion (Expander)

Threshold point of Compressor / Expander / Gate

Threshold point of Limiter

Make-up gain

Make-up gain for left channel

Make-up gain for right channel

Bending of the characteristic curve 2 at the threshold point

Response time

Response time of left channel (Wave Designer)

Response time of right channel (Wave Designer)

Release (right stop activates auto mode for Compr./Lim.)

Release of left channel

Release of right channel

Time until release process sets in

Degree of damping (Gate); dynamic limitation (Ultramizer)

Degree of compression (Ultramizer)

Recovery time (the higher the faster)

Split point between high and low band

Intensity of the stereo enhancer

Frequency of the HF 6 enhancer

Separates low, high band & wide (Ultramizer / De-Esser)

Basic frequency (Denoiser)

Controls the amount of influence on the signal level (Denoiser)

Recovery time of low pass modulation (Denoiser)

Time until the gate process sets in (Denoiser)

Gate recovery time (Denoiser)

Amount of signal needed to open the noise gate (Denoiser)

Lower cut-off frequency of compression process (De-Esser)

1 Ratio determines the relation of input to output level for all signals which exceed the threshold point.

2 The Soft Knee characteristic curve prevents a high compression rate (high ratio) from sounding unnatural.

3 Attack determines the time which the processor requires to react to signals which exceed the threshold point.

4 Release determines the time that the processor needs after falling below the threshold point to reach the original level.

5 Hold determines the time before the release process sets in (release sets in after the signal falls below the threshold point).

6 High frequency.


PSYCHO

ACOUSTICS

2.5 Psycho-acoustic effects

EXCITER: An exciter works with psycho-acoustic principles to add artificially generated overtones to the original signal, thereby increasing its presence and loudness (the subjective volume impression) without any significant increase of the signal level.

ENHANCER: The enhancer works like a dynamic pitch equalizer. Its effectiveness depends on the associated high frequencies and the intensity of the input signal.

ULTRA BASS: This awesome combination of sub-harmonic processor, bass exciter, and limiter adds a final touch to your music production.

STEREO IMAGER: This effect is used to process stereo main signals. The signal is first subdivided into middle and side signal (MS Matrix). Both parts can then be amplified when desired and placed on the stereo image.

ULTRA WIDE: This effect is suitable to pep up speaker systems with an especially broad stereo image.

BINAURALIZER: The binauralizer also extends the stereo image. Additionally, it compensates for inter-channel cross talk of both speakers (left loudspeaker on right ear and vice versa).

Parameter

Gain

Frequency

Filter Q

Timbre

Harmonics Kick

Mix

Bass Gain

Sub-bass Frequency

Sub-bass Level

Harmonics

Harmonics Density

Bass Gain

Spread

Spread Mode

MS Balance

Stereo Balance

Mono Balance

Center

Xover Frequency

Space

Mode

Speaker Distance

Speaker Compensation

High Frequency

High Gain

Bass Width

Mid Q

Mid Gain

Harmon. Freq.

Harmon. Level

Function

Gain correction

Cut-off frequency of the side chain high pass filter 1 (Exciter)

Resonance of the high pass filter (emphasizes cut-off frequency for Exciter)

Ratio of straight and unstraight harmonics (Exciter)

Activates an amplification of harmonics dependent on the input level (Exciter)

Controls amount of harmonics (Exciter)

Degree of the bass enhancer

Cut-off frequency of the sub-bass low pass filter (Ultra Bass)

Degree of sub-harmonics

Degree of synthetic harmonics (Exciter)

Density of harmonics (Ultra Bass)

Degree of original bass signal (Ultra Bass)

Controls the influence on the stereo signal (Stereo Imager) / degree of stereo expansion (Ultra Wide)

Selects between two different spread variations (Stereo Imager)

Ratio of middle and side signal (Stereo Imager)

Balance of stereo signal (Stereo Imager)

Balance of mono signal (Stereo Imager)

Amount of center impression in the stereo signal

(Ultra Wide / Binauralizer)

Frequency of the crossover filter for the center signal (Ultra Wide)

Degree of stereo wideness (Binauralizer)

Selects between headphones and speaker operation (Binauralizer)

Run time / speaker distance (Binauralizer)

Degree of crosstalk compensation (Binauralizer)

Split frequency of the crossover filter for the side chain (Enhancer)

Amount of added high frequencies (Enhancer)

Character of added bass frequencies (Enhancer)

Bandwidth of added mid frequencies (Enhancer)

Amount of added mid frequencies (Enhancer)

Frequency of added bass harmonics (Ultra Bass)

Amount of added bass frequencies (Ultra Bass)

Tab. 2.5: Functioning of the psycho-acoustic effects’ parameters

1 High pass filter, which allows frequencies above a specified cut-off frequency to pass and damps the frequencies lying below it.

2.6 Filter/EQ effects

FILTER: Filters, in general, influence the frequency response of a signal. A low pass filter allows low frequencies to pass and suppresses high frequencies, while a high pass filter allows high frequencies to pass and suppresses low frequencies.

PARAMETRIC EQ: The parametric equalizer is the most highly-developed form of equalization. You can control the three parameters which define the so-called gauss equalizer curve: bandwidth, frequency and amplitude boosting or lowering.

GRAPHIC EQ: Eight filter bands are arranged next to each other for this graphic equalizer. In contrast to the parametric equalizer, frequency and bandwidth are pre-determined here.

Parameter

Base Frequency

Depth

Resonance

Type

Attack

Release

Speed

Wave

Gain 1/2

Freq. 1/2

Q 1/2

200 Hz

400 Hz

800 Hz

1.6 kHz

3.2 kHz

6.4 kHz

Mix

Gain

Function

Cut-off frequency

Degree of influence

Resonance of the filter

Operating mode of the filter

Response time of the envelope follower

Release time of the envelope follower

Speed of the LFO

Sets the curve of the LFO

Boost/cut (param. EQ)

Mid frequency (param. EQ)

Q factor (param. EQ)

Boost/cut at 200 Hz (graph. EQ)



Boost/cut at 1.6 kHz (graph. EQ)



Gain correction (Auto Filter / LFO Filter)

Output gain of the filter block

(parametric / graphic EQ)

Tab. 2.6: Functioning of the filter/EQ effects’ parameters


2.7 Distortion effects and amp simulations

VOCAL DISTORTION: This effect is very hip when used on vocals and drum loops, and is combined with a delay and flanger.

TUBE DISTORTION: This effect simulates the sound of different tube types.

When an analog tube, as found in a guitar amplifier, is overamplified by raising the input signal (e.g. of a guitar), the original signal is mixed with the harmonic overtones. With rising overmodulation (also known as saturation of tubes), the original signal is distorted and the sound is fresh and full. This is a classic sound in rock music.

GUITAR AMP: This effect simulates the sound characteristics of a complete guitar amplifier. You can connect a guitar or bass (after appropriate pre-amplification) directly to the VIRTUALIZER 3D, and from there to a mixing console or recording device.

TRI FUZZ: This is a special guitar distortion type. Jimi Hendrix was one of the first guitarists to recognize the appeal of this broadband transistor overmodulation.

The humming distortion of the FUZZ BOX has again become popular with alternative rock and grunge. The VIRTUALIZER 3D’s fuzz works in three different frequency bands.

SPEAKER SIMULATION: The VIRTUALIZER 3D is able to simulate various types of speakers. Typical guitar amplifying speakers as well as multimedia speakers are available. You can also use a parametric equalizer to further refine the sound.

RING MODULATOR: This effect allows a radical alienation of audio signals.

Similar to the principle of FM radio, the signal is multiplied by a carrier frequency, so that frequency modulation (FM) takes place. This effect is very well suited for vocal alienation (robot voice).

LO-FI: For years, digital technique has been striving for high quality, low noise, and brilliant sounds. In the recent past there have been increasing calls for a return “to the roots” to achieve the warmth of the old analog sounds. The techno/ dance group swears by vinyl and some music lovers miss the charm of good old vinyl discs and tape machines. This trend is known as Lo-Fi (instead of Hi-Fi).

We have taken this tendency into account and included the relevant effect in the FX2000. Your recordings sound like 8-bit audio, complete with noise and humming like the old days! A true drum loop in TR808/TR909 style really gets going when it sounds thick and dusty.

Delay

Delay Gain

Flanger Level

Flanger Speed

Pre HP

Pre LP

Tube Selection

Mid EQ

In Gain

Low Fuzz

Mid Fuzz

Hi Fuzz

Cabinet Type

Presence

Hi Damp

EQ Gain

EQ Frequency

EQ Q

Speed

Depth

Carrier Frequency

Parameter

Gain

Distortion

Drive

Type

Mode

Slewing

Bit Resolution

Buzz Level

Noise Gain

Noise HP

Noise LP

Damp

Tone

Function

Volume

Distortion

Degree of tube distortion (Tube Distortion & Guitar Amp) / distortion at the output circuitry (Tri Fuzz)

Nature of vocal distortion (Vocal Distortion) / selection of eight different loudspeakers

(Speaker Simulation)

Length of delay

Degree of delay

Degree of flanger

Speed of flanger

Frequency of the in-series connected high pass filter

Frequency of the in-series connected low pass filter

Selects between three tube types

Mid equalizer

Input gain

Distortion of low frequencies

Distortion of mid frequencies

Distortion of high frequencies

Selects between eight speaker types

Presence

Damping of high frequency parts

Raising or lowering of EQ

Frequency of EQ

Q factor of EQ

Speed of LFO

Modulation depth

Modulation frequency

(Ring Modulator): LFO = The LFO modulates.

ENV = Modulation through envelope follower.

RAND = Modulation through random generator.

SINE = The input signal is replaced by a sine tone and modulated by a random generator.

Smoothing of modulation signal for RAND and SINE

(Ring Modulator)

Resolution of D/A converter

Intensity of the buzz level

Volume of the noise

Lower cut-off frequency of the noise

Upper cut-off frequency of the noise

Frequency of low pass filter after the tube stage (Tube Distortion)

High frequency attenuation of input signal

(Ring Modulator / LoFi)

Tab. 2.7: Parameter functions of distortion effects and amplification simulations


SPECIAL

FX

2.8 Special effects

VINYLIZER: This effect adds clicks and/or noise to your audio signal, simulating old vinyl records and tape recorders.

SAMPLER: This sampler allows you to record up to five seconds of program material. Use Edit A for recording and Edit B for playback of the sampled material.

◊ To clear the contents of the sampler, select a different effect.

VOCODER: The vocoder, an old acquaintance, has become popular again due to the disco renaissance (hear it in “Around the World” by Daft Punk or “California” by 2Pac). A control signal (usually a voice) is used in the right channel to modulate another signal which lies on the left channel (usually a synthesizer sound).

It sounds as if the synthesizer is talking (robot voice).

VOICE CANCELER: The voice canceler is a very effective Karaoke effect. It allows removal of mono vocal parts in stereo recordings. The bass part, however, remains untouched.

RESONATOR: A resonator simulates an oscillating system that amplifies a specific frequency. The resonator implemented here has a resonance frequency that can be modulated with positive and negative feedbacks of up to 100%.

Parameter

Speed

Clicks Level

Scratch Level

Noise Level

Noise Frequency

Record / Stop

Play / Stop

Mode

Sensitivity

Attack

Release

Bass Frequency

MS Balance

Treble Pan

Gain

Depth

Carrier Frequency

Feedback

Slewing

Tone

Tab. 2.8: Parameter functions of special effects

Function

Rotations per minute (Vinylizer) / playback speed (Sampler) / speed of LFO (resonator)

Volume of clicks

Volume of "cracks in the record"

Volume of noise

Frequency response of noise

Start / stop recording

Start / stop playback

Forward, backward playback, number of repetitions (Sampler) /

Resonator: LFO modulates (LFO), modulation through envelope follower (ENV), modulation through random generator (RAND)

Modulation intensity / input sensitivity

Response time of envelope follower

Release time of envelope follower

Upper cut-off frequency of bass frequencies that are not effected

Degree of mid elimination

Panorama of high frequencies

Gain correction

Modulation depth

Modulation frequency

Degree of feedback

(Resonator): Smoothing of modulation signal for RAND and SINE

Frequency spectrum of input signal (Vinylizer)

2.9 Effects algorithm combinations

(multi-effects programs)

Effects 61 to 71 are multi-effects algorithms, which allow different effects to be used simultaneously. Effect 61, for example, can make a solo guitar “wider” with chorus and simultaneously add a room reverb. Please note that you can modify the structure of a multi-effect (see chapters 3.1 and 3.6.4).

CHORUS & REVERB: This algorithm combines the popular chorus with a gold plate effect (as in algorithm 2).

FLANGER & REVERB: The combination of flanger and reverb effects.

LESLIE & REVERB: The input signal, modulated to a degree that you specify, is then processed with a reverb effect. This effect works especially well with keyboards and guitars.

PITCH & REVERB: The pitch shifter can be detuned in semitone or cent steps.

The reverb, on the other hand, can be controlled in time and mixing ratio.

DELAY & REVERB: Delay and reverb are the most common combinations for vocals, solo guitars, etc. The reverb used here is a gold plate, a room that features a distinctive brilliance and can be used in many ways.

TREMOLO & REVERB: The intensive variation in volume of the tremolo gains more depth and wideness with the reverb.

PHASER & REVERB: The combination of a classic stereo phaser and a reverb effect.

CHORUS & DELAY: While the chorus can contribute to a wideness of the signal, interesting repetition effects can be adjusted with the delay. Vocals can be given a distinctive effect without making the voice sounding blurred.

FLANGER & DELAY: This effect is just right for creating a modern, slightly “spacey” vocal sound.

PITCH & DELAY: A repetition of the audio signal, with an oscillatory effect added by the pitch shifter.

TREMOLO & DELAY: A fast or slow, intensive variation of volume, which is additionally processed with a panorama effect.

Parameter

Speed

Reverb Mix

Decay

Depth

Doppler

Type

Delay (Time)

Delay Mix

Feedback

Semitones

Cents

Auto Mod.

Hi Damp

High Cut

Function

Modulation speed

Wet/dry mix of modulation, delay and reverb effects

(for algorithms 61 - 67)

Room size / duration of reverb tail

Intensity of delay, amplitude, or phase modulation

Intensity of Doppler effect

(Delay & Reverb): Selects among mono, stereo and ping pong delay or a filter in the feedback chain

Length of the delay

(Chorus & Delay): Ratio of chorus and delay

Degree of feedback

Detuning in semitones

Detuning in cents

Influence on LFO frequency (dependent on the input level)

Damps the high frequencies of the reverb programs

Frequency range of the input signal (Pitch Shifter & Reverb)

Tab. 2.9: Parameter functions of multi-effects programs

◊ For an overview of the parameters available in the individual programs refer to chapter 7.1.


3. Operation

3.1 Effects structure

Algorithm No.

IN

L

1-6, 8, 9

R

IN

L

7

R

IN

L

10

R

IN

L

11, 12

R

IN

L

13

+

+

+

+

R

IN

L

14

R

IN

L +

15

R

IN

L

17-19, 21, 24, 26

+

R

+

PREDELAY

PREDELAY

+

Effects structure

PREDELAY

FILTER

PREDELAY

FILTER

FILTER

DELAY_L

+

+

+

DELAY_R

DELAY_L

LP/HP

LP/HP

DELAY_R

DELAY_L

FEEDBACK_DEL_L

FEEDBACK_DEL_R

DELAY_R

EFFECT

ER

REVERB

REVERB

REVERB

REVERB

Fig. 3.1: Effects structure, part 1

OUT

L

I

X

E

R

R

OUT

L

R

OUT

L

R

OUT

L

R

OUT

L

R

OUT

L

R

OUT

L

R

OUT

L

R


Algorithm No.

16, 20, 22, 23, 25,

28-30, 38-40,

45-48, 50, 53,

54, 57, 60

27

31-34

R

IN

L

R

IN

L

IN

L

R

IN

L

35

36

37

41

42-44, 59

R

IN

L

R

IN

L

R

IN

L

R

IN

L

R

+

+


+

+

PITCH_1

PITCH_2

PITCH_3

EFFECT_L

EFFECT_R

DYNAMICS

+

LP

HP

+ DYNAMICS

HP

LP

+ DYNAMICS

DYNAMICS

FILTER

FILTER

+

+

DYNAMICS

FILTER

FILTER

BASS ENHANCER

SUBBASS

BASS ENHANCER

+

+

EFFECT


R

OUT

L

N

C

E

R

E

N

H

A

T

R

M

I

I

L

R

OUT

L

A

E

R

OUT

L

R

OUT

L

OUT

L

E

R

I

X

R

OUT

L

R

OUT

L

R

OUT

L

R


Algorithm No.

49

51, 52

55, 56

58

61-71


IN

L DIST

DIST

+

FLANGER

+

FLANGER R

IN

L

+

R

IN

L

+

R

IN

L

R

A) Serial 1

IN

L

R

MOD/

DELAY

EFFECT

REV/

DELAY

EFFECT

CROSS DELAY

EFFECT

NOISE/CLICKS

EFFECT

+

+

M

X

M

X

B) Serial 2

IN

L

MOD/

DELAY

R

+

+

REV/

DELAY

M

X

M

X

C) Parallel

IN

L

+

R

I

X

M

X

+

+

+

+

+

+

OUT

L

+ R

OUT

L

R

OUT

L

R

OUT

L

R

EQ

EQ

OUT

L

R

EQ

EQ

OUT

L

R

EQ

EQ

OUT

L

R



3.2 Calling up presets

The VIRTUALIZER 3D has 100 internal presets and 100 user presets that can be overwritten. The two memory banks are located one after another. The internal presets (I.000 - I.100) come first and the user presets (U.000 - U.100) follow.

After switching on the unit, the last used preset is automatically restored.

To choose a different preset, press the PRESET key, then rotate the Jog Wheel.

To see the presets in ascending order, rotate the wheel clockwise. To see the presets in descending order, rotate it counterclockwise.

◊ Please note that it takes the VIRTUALIZER 3D about one second to activate each newly selected preset. The activation process is indicated by a blinking light on the display. After the new effect’s data is loaded, the VIRTUALIZER 3D activates the preset and the light fades.

This brief signal suppression means that during quick selection of presets with the Jog Wheel, not every preset is activated directly.

Otherwise, there could be partial “shreds” of various presets at the audio outputs of the FX2000. The VIRTUALIZER 3D gives you the security that unwanted programs are not loaded. In addition, you can quickly turn the Jog Wheel and still have enough time to specifically select a preset without activating “neighboring programs”.

◊ Please note that various effects algorithms may have different volume levels. Reduce the volume of your monitors while selecting new presets to prevent sudden changes in volume.

3.3 Editing programs (Edit Mode)

Programs can be edited easily and quickly with the FX2000. The list on the right side of the LED DISPLAY gives you an overview of the effects algorithms that the

VIRTUALIZER 3D can generate. To select these basic algorithms, press the EFFECT key and rotate the Jog Wheel.

By turning the EDIT CONTROLs and the MIX/BYPASS CONTROL, you can extensively modify the sound of an effects program. You select the EDIT CONTROL function using the EDIT key. By repeatedly pressing the EDIT key, you can (for example) specify whether parameter EDIT A or EDIT E will be changed with the 1st EDIT

CONTROL.The currently illuminated LED indicates which parameters will be edited. By modifying the EQ LO and EQ HI parameters, you can put the final touch on an effect. As soon as you start editing, the LED of the PRESET or EFFECT key

(depending on whether you have already loaded one of the 200 presets or have selected one of the basic algorithms) dies out. Simultaneously, the LED of the

STORE key starts to blink, indicating that changes have been made.

3.4 Storing programs

To store changes to one of the 100 user presets, as described in chapter 3.3, you use the STORE key. All changes to the FX2000’s parameters can be stored when the STORE key’s LED blinks. For your changes to be accepted, you must press the STORE key twice. An example:

• You call up a program and make changes to it using the four EDIT

CONTROLs and the MIX/BYPASS CONTROL. Each EDIT CONTROL controls two parameters that can be selected by pressing the EDIT key. During this process, the STORE key blinks, indicating that the preset’s settings have been changed. However, your changes are not yet stored. If you want to overwrite the original preset, simply press the STORE key twice to store your changes. If you wish to retain the original preset, press the STORE key once.

The display shows the current preset number and starts blinking. Use the Jog

Wheel to select another preset, which you will overwrite. Press the STORE key again and your changes are stored in the selected preset.

◊ If there is no input for about five seconds after pressing the STORE key, the unit goes back to edit mode.

◊ If you make changes in a preset and press the STORE key twice, all of the preset’s original settings are overwritten and your new parameters are stored. If you want to retain the old preset, you must select another preset (using the Jog Wheel) before pressing the STORE key for the second time.

3.5 Comparing an edited preset with the corresponding factory preset

(compare function)

When you have made changes in a preset but have not yet stored your changes, the COMPARE Function allows you to load the original factory preset and compare it with your changes. To do so, press the COMPARE key while in edit mode. As long as the COMPARE key’s LED blinks, further editing is (temporarily) not possible.

Press the COMPARE key again to return to your edited preset. Here, you have the choice to either store your changes (see chapter 3.4), or continue editing

(see chapter 3.3).

3.6 SETUP mode

In SETUP mode, you can make global adjustments to the VIRTUALIZER 3D as described in the sub-sections below. Among these are MIDI, Input mode,

Output mode and dual engine configuration (CONFIG). To enter SETUP mode, press the SETUP key. The red LED below the EDIT CONTROLs lights up. The four

EDIT CONTROLs can now be used to adjust the SETUP parameters. To exit this mode, press the SETUP key again.

3.6.1 MIDI control

The FX2000’s MIDI editing options are shown on seven pages. Enter SETUP mode

(see chapter 3.6). With the help of the 1st EDIT CONTROL, you can select seven different MIDI functions. Data input is always carried out with the JOG WHEEL. the following pages can be selected:

• CHAN: You can set the MIDI channel on the first page. With the Jog Wheel, the channel can be set from 01 to 16. If you select “OFF”, the MIDI function is switched off.

•

•

OMNI: The second page gives access to omni mode. In this case, the unit receives MIDI data on all 16 MIDI channels. “ON” appears in the display.

With the Jog Wheel, select “OFF” to deactivate omni mode.

CONT: On the third page, you can configure the controller commands.

You can choose between four controller modes:

Display

OFF

RECV

SEND

BOTH

Mode

No controller data are transmitted / received.

Controller data are received but not transmitted.

Controller data are transmitted but not received.

Controller data are transmitted and received.

Tab. 3.1: Controller settings

For controller functions see table 7.4 in chapter 7 “Appendix”.

• PRGM: Page four will bring you to the setup for the program changes.

Once again, you have four modes to select from:

Display

OFF

RECV

SEND

BOTH

Mode

Program Changes are not transmitted / received.

Program Changes are received but not transmitted.

Program Changes are transmitted but not received.

Program Changes are transmitted and received.

Tab. 3.2: Program change settings


•

◊

•

•

◊

STOR: On the fifth page, you can select the Store Enable mode. In the “ON” mode, the VIRTUALIZER 3D receives controller 112 as the direct storage command—the current settings are stored on the program location corresponding to the controller value without waiting for a confirmation.

In the “OFF” mode, controller 112 is ignored.

CAUTION: The Store Enable mode is aimed to transfer several presets at once from an external PC to the VIRTUALIZER 3D (see also chapter 5.1). In this mode, you can very easily overwrite your program locations by unintentionally sending controller 112 values to the

FX2000! Therefore, we strongly recommend to switch off this mode immediately after use. When the FX2000 is switched on, this mode is automatically set to off (“OFF”).

DUMP: Select the System Exclusive mode (“SysEx”) using the sixth page.

In this mode, the FX2000 is ready to “dump” its complete storage content, including all settings, to a MIDI sequencer. Start your MIDI sequencer and turn the JOG WHEEL. The data transfer is indicated by “GO”.

DR.EN: In this mode, the FX2000 can receive SysEx data from another MIDI device. To load this data, turn the JOG WHEEL slightly so that the display blinks. Start your sequencer, and all of your settings, including preset parameter settings, are received by your VIRTUALIZER 3D. Data transfer is interrupted by turning the JOG WHEEL slightly so that “----” appears in the display.

During a SysEx data transfer, all audio functions of the VIRTUALIZER 3D are inactive.

3.6.2 INPUT mode

With the help of the 2nd EDIT CONTROL, you can specify whether your FX2000 works as a mono (“MONO”) or a stereo unit (“STER”). In mono mode, input 1 is used exclusively. Since the VIRTUALIZER 3D is a real “True Stereo” device, the DSP processes the signal for many effects separately for both channels

(see chapter 7.1). For effects 13 - 15 and 38, right and left channel parameters can even be edited separately.

◊ For effects 42 - 44, 58, and 59, a signal must be present at both inputs for optimal stereo results.

3.6.3 OUTPUT mode

Use the 3rd EDIT CONTROL to determine the FX2000’s OUTPUT mode.

The selection of settings depends on your FX2000’s application. If you’re using the VIRTUALIZER 3D in connection with a mixing console (aux bus), activate the

Mix External (“EXTN”) output mode. The FX2000’s output signal is then

100% wet.

If you’re using the FX2000 with a guitar amplifier that has an effects loop, select the Mix Internal (“INTN”) output mode. Then, use the MIX/BYPASS control to adjust the effect volume. For further information, see chapters 4.2 and 4.4.

3.6.4 Dual engine configuration (CONFIG)

You can use the 4th EDIT CONTROL to decide how the FX2000’s effects combinations (presets 61 - 71) should be structured. Since the FX2000 is a true

Dual Engine unit, you can choose between serial 1 (“SER1”), serial 2 (“SER2”) and parallel (“PARA”). See fig. 3.1, 3.2 and 3.3 to understand how these settings influence the composition of the effects combinations.

In the example of preset 61 (chorus & reverb), you can decide, whether the chorus and reverb effects run separately from each other or whether the signal, treated by the chorus, passes the reverb effect.

3.7 Restoring the factory presets

To restore the FX2000 to its preset factory state, press and hold the STORE and

PRESET keys while switching on the unit. “INIT” appears in the DISPLAY and counting takes place from R 1 to R 100.

◊ This overwrites all changes you have made and restores the factory presets!

4. Applications

The BEHRINGER VIRTUALIZER 3D is a flexible unit that can be used in various applications. Prior to a presentation of the FX2000’s many uses, please note the following remarks on how to set signal levels correctly.

4.1 Level setting

Take care to set all levels properly on the FX2000! Low levels deteriorate the dynamics of the music signal, which results in a poor, weak and noisy sound.

On the other hand, excess levels overdriving the converters in the VIRTUALIZER 3D should also be avoided. Digital distortion is (unlike its analog counterpart) extremely unpleasant, since it does not occur gradually but abruptly.

Please use the OPERATING LEVEL switch and the input level meter of the FX2000.

Make sure that the Clip LEDs flickers only rarely. Ensure that they never light up all the time!

4.2 Using the VIRTUALIZER 3D in the aux bus

Using the FX2000 in the aux bus lets you feed signals from one, several or all channels of your console into the VIRTUALIZER 3D. When miking a drum kit, for example, you can use the aux controls to adjust the reverberation independently for each channel. Thus, you are able to assign a strong reverb to the snare rather than the toms. Cabling the VIRTUALIZER 3D in the aux bus should be carried out as follows:

In L

Fig. 4.1: Wiring aux busses

In R Out L Out R

AUX Send

1 (& 2)

AUX

Return


Connect both inputs of the VIRTUALIZER 3D to the aux send outputs of your mixer. The FX2000’s output socket is connected to the aux return inputs of your mixer. If you want to operate the BEHRINGER VIRTUALIZER 3D in mono, connect one of its channels (left or right) to an aux bus. As a matter of principle, effects processors should always be connected to post fader aux busses.

◊ If your mixing console has aux busses that feature one jack for the aux send, use audio channel 1 on the FX2000. In this case, you must choose the mono mode (see chapter 3.6.2).

◊ To avoid damage to your equipment, turn down the volume level on your amplifier when making connections. Switch off the devices that you want to connect to one another until plug connections have been completed as described.

Let’s assume you want to operate the FX2000 in a live situation in connection with a mixing console, and use a chorus to enhance the guitar sound.

Connect the VIRTUALIZER 3D to the aux busses of your mixing console (fig. 4.1).

Make the mains connection and set the operating level if necessary. Switch on the unit. In SETUP mode (output), select “EXTN” to ensure that the Mix External mode is activated. Press the effect key and use the Jog Wheel to select the stereo chorus effect (no. 16). Turn up the aux busses slowly till you have mixed the desired effect with the guitar signal. After this, you can start fine tuning. You will probably want to specify the chorus’ modulation. Turn the 1st EDIT CONTROL to determine the speed of the modulation. To adjust the modulation depth, turn the

2nd EDIT CONTROL. Proceed further following this principle. If you want the

1st EDIT CONTROL to change EDIT E, you must first press the EDIT key. After all the parameters have been changed as you wish, you can store the modifications in the original (or a different) preset.

4.3 Using the VIRTUALIZER 3D in the insert path

Generally, you can use the FX2000 on channel or subgroup inserts, using a standard insert cable. Connection to a channel insert makes sense when you want to process very specific signals (e.g. vocals) with the VIRTUALIZER 3D, or when all other options for connecting the FX2000 are already used by other units. For compressors, expanders and gates, the channel insert is the best choice.

Channel

Insert

Fig. 4.2: Wiring the VIRTUALIZER 3D in the insert path

Subgroup

Insert

4.4 Using the VIRTUALIZER 3D as an effects device for instruments

Due to its MIDI implementation, the VIRTUALIZER 3D can also be used as multi-effects unit in a guitar rack. Naturally, the VIRTUALIZER 3D can be cabled both as mono and as stereo unit. The following examples show how to use the

FX2000 with a guitar setup.

In

Send

Effects Loop

Return

Fig. 4.3: Connecting the VIRTUALIZER 3D to a guitar amp (send/return mono)

Out

Fundamentally, the following applies: The VIRTUALIZER 3D should be connected between preamp and output stage of your amplifier. For this purpose, most of the guitar amplifiers offer an effects loop, which allows the preamp signal of your amplifier to pass on to the audio input stage of the FX2000. Then, in the

VIRTUALIZER 3D, the preamp signal is processed and sent back to its amplifier through the amplifier’s return jack (Power Amp In). If you use a stereo rack system for amplification, you can also set up the VIRTUALIZER 3D in stereo mode.

Connect the preamp to the audio inputs of the FX2000. Each of its audio outputs

(left/right) is connected to a channel (left/right) of your amplifier.

◊ Since most guitar amps only feature a serial effects loop, you should make sure that the VIRTUALIZER 3D is set to Mix Internal mode. In Mix

Internal mode, you can control the effects intensity that is applied to the guitar signal. If, however, your amp is equipped with a parallel effects loop, which allows for adding the effects signal portion

(similar to an aux bus in a mixing console), then you should set the

VIRTUALIZER 3D to Mix External mode. In this case, the effects intensity present at the outputs of the VIRTUALIZER 3D is 100%.

Instrumentalists can benefit from a variety of advantages offered by the

VIRTUALIZER 3D‘s MIDI implementation. With a MIDI foot controller, e.g. the

BEHRINGER MIDI FOOT CONTROLLER FCB1010, you can transfer program changes via MIDI. Connect the MIDI out port of your foot controller to the MIDI IN port of the VIRTUALIZER 3D. If the FX2000 does not respond to your foot controller’s program changes, check your MIDI channel settings. Determine which MIDI channel your foot controller uses to send program changes (in most of the cases: omni mode). Set the VIRTUALIZER 3D’s MIDI channel to the same number and switch program change receive mode on (see chapter 3.6.1).

If your MIDI foot controller can send MIDI controller data, you can change parameters while playing. For example, you can change the effect from 0% to

100% with the controller while playing. Set controller No. 116 to the Mix Internal function (value 1) and increase the effect (value 0 - 100) with controller No. 111.

In this way, you can provide a guitar solo with chorus and delay, before removing the effects for a dry rhythm sound. You can even control the bypass function with your controller (contr. 113, value 0 = OUT, value 1 = IN). Bypassing the

VIRTUALIZER 3D can be activated this way if you need an unprocessed signal.

These procedures are generally possible with all MIDI devices which are capable of transmitting controller commands (like keyboards, sequencers, etc.).

The FX2000 can also be used between the outputs of your keyboard and the inputs of your mixer. If necessary, adjust the operating level with the corresponding switch on the rear panel of the unit.


4.5 Using the VIRTUALIZER 3D in a MIDI setup

Thanks to the integrated MIDI interface, you can incorporate the FX2000 in a

MIDI setup. The VIRTUALIZER 3D can receive and send both program changes and controller changes. Thus, you can use program changes using MIDI with a sequencer or with any other MIDI device. Connect the FX2000 e.g. as follows:

MIDI In

MIDI Thru

MIDI In

MIDI Out

MIDI Out

MIDI In 1

MIDI In 2

MIDI Out

MIDI

Sequence

Fig. 4.4: VIRTUALIZER 3D in MIDI connection with a sequencer (computer) and a keyboard

5. MIDI Functions of the FX2000

Due to the complete implementation of the MIDI interface, it is very easy to integrate the VIRTUALIZER 3D in a MIDI System.

• MIDI IN

All MIDI data that are sent to the FX2000 (sequencer, MIDI foot controller, etc.) are received at the MIDI IN port. If you want to use the FX2000 as an effects unit in a guitar rack, you can connect a MIDI foot controller to the MIDI IN socket, and use it to change the program presets. If you are simultaneously operating another MIDI device, you can transfer the control commands of the MIDI foot controller using the MIDI THRU socket of the VIRTUALIZER 3D.

• MIDI THRU

The MIDI THRU socket allows you to loop through incoming MIDI signals.

All control commands that arrive at the MIDI IN socket can be passed on to other

MIDI devices and instruments using the MIDI THRU socket.

• MIDI OUT

Use the MIDI OUT to send data to a connected computer or other VIRTUALIZER 3D.

5.1 Saving data via MIDI

To store all presets outside the VIRTUALIZER 3D, you can use a special form of MIDI communication called system exclusive data (SysEx). With SysEx, the VIRTUALIZER 3D sends information about its manufacturer, unit type, and all parameter settings for all presets to a sequencer or MIDI file recorder. To activate this very practical function, press the SETUP key in SETUP mode. Turn the 1st EDIT

CONTROL to select “DUMP”. Your VIRTUALIZER 3D is now ready to transfer your system exclusive data. Select a track on your MIDI sequencer, get ready for recording, start the recording and turn the JOG WHEEL. The data transfer is indicated by a “GO” in the display.

To load the data back into the FX2000, select “DR.EN” in SETUP mode (see chapter

3.6.1). Turn the JOG WHEEL until “DR.EN” blinks. Now, start your MIDI sequencer and the preset data is automatically transferred to the FX2000. In this mode, information sent from the MIDI sequencer is automatically stored while receiving, without asking for confirmation.

6. Installation

6.1 Mains connection

Before connecting the VIRTUALIZER 3D to the mains, please carefully

check that your equipment is set to the correct voltage! The fuse holder on the mains socket has 3 triangular markings. Two of these triangles are located opposite each other. The VIRTUALIZER 3D is set at the operating voltage indicated beside the markings and can be changed by turning the fuse holder by 180°.

CAUTION: This is not applicable for export models, which were designed only for a mains voltage of 120 V!

Connection to the mains is made by means of a mains cable with an IEC receptacle which complies with the required safety regulations.

◊ Please note that all pieces of equipment must be grounded. For your own safety, under no circumstances should you remove or deactivate the grounding of the equipment or the mains cable.

6.2 Audio connections

As standard, the BEHRINGER VIRTUALIZER 3D features electronically servobalanced inputs and outputs. If possible, connect the unit to other devices in a balanced configuration to allow for maximum interference immunity.

◊ Installation and operation of this equipment must be carried out by competent staff only. Both before and after installation, the staff using the equipment should make sure that it is properly grounded since otherwise electrostatic discharge etc. can lead to an impairment of its operation.

Unbalanced ¼" TS connector strain relief clamp sleeve tip sleeve

(ground/shield) tip

(signal)

Balanced ¼" TRS connector strain relief clamp sleeve ring tip sleeve ground/shield ring cold (-ve) tip hot (+ve)

For connection of balanced and unbalanced plugs, ring and sleeve have to be bridged at the stereo plug.


Balanced use with XLR connectors

2

3

1 input

1 = ground/shield

2 = hot (+ve)

3 = cold (-ve)

1

3

2 output

For unbalanced use, pin 1 and pin 3 have to be bridged

Fig. 6.1: Different plug types

6.3 MIDI connections

The MIDI connectors at the rear panel of the unit are equipped with internationally standardized 5 pin DIN sockets. You’ll need a MIDI cable to connect the VIRTUALIZER 3D with other MIDI devices. As a rule, standard readyto-use cables can be used. With a two core shielded cable (e.g. microphone cable) and two possible stable 180 deg. DIN plugs, you can also solder a MIDI cable yourself: Pin 2 (middle) = shield, pin 4 and 5 (right and left of pin 2) =

Inner conductor, Pin 1 and 3 (both lying outside) remain free. MIDI cables should not be longer than 15 meters.

MIDI IN: is used for receiving MIDI data. The receiving channel is selected in the

SETUP menu.

MIDI THRU: At the MIDI THRU socket, the MIDI data that arrive at the MIDI IN socket can be looped through. Several VIRTUALIZER 3Ds can be linked using MIDI

THRU sockets.

MIDI OUT: Via MIDI OUT, you can send data to a connected computer or to other

VIRTUALIZER 3Ds. Program data and status information are transmitted for signal processing.

6.4 Selecting the operating level

The BEHRINGER VIRTUALIZER 3D allows you to switch the internal operating level with the Operating Level switches on the rear panel of the unit. Thus, you can choose between the homerecording level (-10 dBV) and the professional studio level (+4 dBu). With this adjustment, the VIRTUALIZER 3D is adapted to the optimal operating level. Use the input level meter on the front panel to find the appropriate operating level.


7. Appendix

7.1 Parameter overview

Reverbs

Name Min.

Edit A

Def.

Max.

Edit B Edit C Edit D

Min. Def.

Max.

Min.

Def.

Max.

Min.

Def.

Max.

1

2 Gold Plate

3

4

5

6

7

8

9

Cathedral

Small Hall

Room

Concert

Studio

Stage

Spring

Reverb

Ambience

0.000

0.000

0.000

0.000

0.000

0.000

0.000

0.000

0.000

Pre-Delay

0.072 s

Pre-Delay

0.010 s

Pre-Delay

0.002 s

Pre-Delay

0.015 s

Pre-Delay

0.020 s

Pre-Delay

0.002 s

Pre-Delay

0.030 s

Pre-Delay

0.003 s

Pre-Delay

0.020 s

Pre-Delay

0.030 s

Pre-Delay

0.010 s

Pre-Delay

0.000 s

0.200

0.200

0.050

0.100

0.200

0.050

0.100

0.050

0.100

Decay

2.00

5.11 s 8.00

Decay

1.000 2.368 s 4.000

Decay

0.050 0.114 s 0.404

Decay

1.000 1.509 s 2.388

Decay

1.00

1.91 s 5.00

Decay

0.100 0.602 s 1.000

Decay

0.600 2.000 s 3.000

Decay

0.800 1.795 s 5.000

Decay

0.100 0.300 s 0.755

Size

1 35

Decay

50

0.150 0.725 s 0.950

Decay

0.150 0.650 s 0.950

0

0

Hi Decay Damping

10% 100

Hi Decay Damping

20%

Hi Decay Damping

100

0

0

0

0

0

0

0

0

0

0

20%

Hi Decay Damping

100

20%

Hi Decay Damping

100

20%

Hi Decay Damping

100

10%

Hi Decay Damping

100

15%

Hi Decay Damping

100

20%

Hi Decay Damping

100

15%

Wall Damping

100

30%

Hi Decay Damping

100

15%

Hi Decay Damping

100

20% 100

10

11

12

Delay

Early

Reflections

Gated

Reverb

Reverse

Reverb

0.000

0.000

0.000

0.200

0.200

0.200

13 Stereo Delay

14 Tape Echo

15 Ping Pong

0.050

0.000

0.000

Delay Left Coarse

0.350 s

Delay Left

0.190 s

Delay Left

0.320 s

5.450

0.635

0.635

Delay Left Fine

0.000 0.050 s 0.099

Delay Right

0.000 0.205 s 0.635

Delay Right

0.000 0.240 s 0.635

Delay Right Coarse

0.050

0.450 s 5.450

0.000

0

Feedback

50% 100

Delay Right Fine

0.050 s

Damping

0.099

100 Hz 2.40 kHz 20.0 kHz

0

Feedback Left

45% 100 0

Feedback Right

40% 100

Modulation

16

Stereo

Chorus

17

18

Analog

Chorus

Vintage

Chorus

19 Ultra Chorus

20

21

22

23

24

Stereo

Flanger

Vintage

Flanger

Jet Stream

Flanger

Stereo

Phaser

Vintage

Phaser

25 Dual Phaser

26

28

29

30

Leslie

27 Pitch Shifter

Vibrato

Tremolo

Auto

Panning

0.050

1

1

1

0.050

1

1

0.100

1

1

1

-12

0.50

0.50

0.50

Speed

0.543 Hz

Speed

33

Speed

25

Speed

46

Semitones 1

+2

Speed

1.27 Hz

Speed

25

Speed

0.285 Hz

Speed

13

Speed

19

Speed

0.247 Hz

Speed

33

Speed

13

Speed

2.20 Hz

Speed

3.21 Hz

5.000

50

50

50

5.000

50

50

10.00

50

50

50

+12

20.00

20.00

20.00

1

0

1

1

1

0 100

20

20

50

100

20

1 20

0

0

0

Depth

80% 100

Depth

100% 100

Depth

75%

Drum Depth

60%

100

100 0

Cents 1

-50 +0 Cent +50

0

Depth

50%

Depth

100

21

Depth

90%

Depth

16

Depth

12

Depth

50 %

Depth

20

Depth

20

Depth

0

0 75%

Depth

80%

100

100

5.0

1

0

1

1

1

1

0

0

0

Feedback

60%

Feedback

50

Feedback

32

Horn Depth

60% 0

Semitones 2

Ste, -12 Stereo

Wave

Triangle Sine

Wave

30

Feedback

80%

Feedback

18

Feedback

20

Delay

20.2 ms 50.0

Delay

6 20

Delay

20

Delay

20 0

1

0

Stereo Phase

180°

Stereo Spread

14

Damping

4

Wideness

180

20

20

50 1 17

Delay

11

Delay

20

100 1.00 ms 2.34 ms 10.0 ms

Delay

20 1 20

20 1 20 20

100

50

50

100

+12

Opto.

0

1

1

0

-50

0

Stereo Phase

20°

Base

1

Base

12

Drive

20%

Cents 2

Stereo

Auto Mod.

25%

Auto Mod.

180

50

50

100

+50

100

Sine, Tri.,

Opto.

Opto.

Square,

Saw Up,

Saw

Down

0 15% 100

Wave Auto Mod.

Sine, Tri.,

Opto.

Sine

Square,

Saw Up,

Saw

Down

0 0% 100

Tab. 7.1: Overview of the individual parameters of effects types (continued on next page)

1

1

1

1

0

1

1

1

1

0

20

-10.0

ER/Reverb Balance

60%

Low Cut

100

83 Hz

Size

400

50 26

Size

30

Bass Mul.

-1.0

Spread

25

Size

30

Metal Reso.

70%

Size

35

Reflections

15

Density

15

Density

10

50

+10.0

50

50

100

50

15

20

20

Edit E Edit F

Min.

Def.

Max.

Min.

Def.

20

0

0

0

0

0

0

0

0

20

20

20

Low Cut

53 Hz

Shv. Damping

20%

Shv. Damping

20%

Shv. Damping

20%

Shv. Damping

20%

Shv. Damping

10%

Shv. Damping

20%

Hi Cut

4

Low Cut

83 Hz

Stereo Width

100%

Low Cut

121 Hz

Low Cut

104 Hz

400

100

100

100

100

100

100

50

400

100

400

400

0

Feedback Left

35% 100 0

Feedback Right

25% 100

Feedback HP Feedback LP

20 Hz 176 Hz 10.0 kHz 100 Hz 5.32 kHz 20.0 kHz

Feedb. Delay L

0.000

0.320 s 0.635

0.000

Feedb. Delay R

0.160 s 0.635

LFO Wave

Triangle Triangle

—

—

—

—

—

—

Stereo Spread

0

0

—

—

20

Stereo Phase

45°

—

—

—

—

Md-1

—

—

50:00

Off, -12

—

Mode

Md-1

—

—

—

—

Balance

45:50

Semitones 3

Off

—

—

—

Sine

—

—

20

180

—

—

Md-5

—

—

00:50

+12

—

—

—

—

—

—

—

—

Mix

Max.

Min.

Def.

Max.

1

1

1

1

1

0

1

1

1

1

1

20

Rev. Mod.

9

Diffusion

20

Low Cut

20

20

83 Hz

Diffusion

20

Rev. Mod.

400

20

9

Diffusion

20

ER/Reverb Balance

60%

Diffusion

5

Diffusion

20

20

100

20

20 20

Diffusion

10

Diffusion

20

Diffusion

20

20

20

20

0

—

—

Damping

0

—

—

—

—

Damping

20

—

—

0 5

Feedback LP

—

—

20

500 Hz 8.13 kHz 20.0 kHz

—

— —

— — —

—

—

—

—

Off, -50

—

—

—

—

—

—

—

—

—

Cents 3

Off

—

—

—

—

—

—

—

+50

—

—

—

—

—

—

—

— 0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

0

Mix

100%

Mix

66%

Mix

100%

Mix

75%

Mix

100%

Mix

100%

Mix

50%

Mix

50%

Mix

50%

Mix

50%

Mix

50%

Mix

50%

Mix

50 %

Mix

40%

Mix

40%

Mix

35%

Mix

45%

Mix

40%

Mix

40%

Mix

45%

Mix

40%

Mix

35%

Mix

30%

Mix

35%

Mix

35%

Mix

Mix

30%

Mix

35%

Mix

30%

100%

Mix

100%

100

100

100

100

100

100

100

100

100

100

100

100

100

100

100

100

100

100

100

100

100

100

100

100

100

100

100

100

100

100


Name

Dynamics

Min.

Edit A

Def.

Max.

Edit B Edit C Edit D

Min. Def.

Max.

Min.

Def.

Max.

Min.

Def.

Max.

Edit E Edit F

Min.

Def.

Max.

Min.

Def.

Mix

Max.

Min.

Def.

Max.

31 Compressor

32 Expander

33

34

Gate

Analog

Compr./

Limiter

35 Ultramizer

36 Denoiser

1.25

1.25

0.001

1.50

1

40

Ratio

3.75

Ratio

3.25

Hold

0.054 s

Ratio

3.00

Density

36

LP-Frequency

916 Hz

Ratio

100

100

1.000

100

100

20.0 k

Threshold

-60 -28 dB

Threshold

-60 -9 dB

0

Makeup-Gain

+0.0

+3.0 dB +24.0

Makeup-Gain

+0.0

+4.5 dB +24.0

0

Threshold Attack

Off, -59 -12 dB -1, Mute 0.005

0.005 s 0.200

Threshold Makeup-Gain

-48 -24 dB

0

0

Range

9 dB

LP-Depth

75 %

Threshold

0

24

100

0

0

0.005

Soft Knee

4

Soft Knee

3

Release

0.031 s

Limiter Thresh.

6

Attack

0.005

0.037 s

Attack

0.005

0.049 s 6

Range

0.500

Mute, -59 Mute

Attack

+0.0

+6.0 dB +24.0

-24.0

0.0 dB 0.0

0.001

0.020 s

1

Speed

38

LP-Speed

100 50

Split Frequency

190 Hz

Gate Threshold

0.001

0.243 s 2.000

Off, -59 -30 dB

Makeup-Gain Frequency

10.0 k

-1, Mute

0

0.001

Stereo FX

20%

Gate Hold

0.035 s

Attack

37 De-Esser

1.50

3.00

Attack Left

100 -48 -36 dB

Release Left

0 +0.0

+6.0 dB +24.0

Attack Right

500 2.78 kHz

Release Right

15.0 k

38

Wave

Designer -50 -25 +50 -50 +25 +50 Ste., -50 Stereo +50 Ste., -50 Stereo +50

Psycho Accoustic

39

42

Exciter

40 Enhancer

41 Ultra Bass

Stereo

Imager

43 Ultra Wide

44 Binauralizer

1.00

1

80.0

0

0

0

Frequency

7.09 kHz

High Freq.

42

Subbass Freq.

130.6 Hz

Spread

50%

Center

25%

Center

40%

10.0

50

150.0

100

100

100

0

0

0

0

1

0

Filter Q

1

High Gain

30 %

Subbass Level

20

100

100 25 %

MS-Balance

75%

Spread

100

50%

Space

32%

100

100

Harmonics

0

-50

25%

Bass Width

+30

Harmon. Freq.

100

+50

30.0

201.2 Hz 250.0

Spread Mode

Spread Space Space

X-Over Frequ.

0

0

0

-6.0

Timbre

50%

Bass Gain

35 %

Harmon. Level

50%

Gain

+1.0 dB

Gain

100 511 Hz 10.0 k

Mode

-12.0

-6.0 dB

Gain

Phones Speakers Speakers -12.0

+5.0 dB

100

100

100

+6.0

+12.0

+12.0

Filter / EQ

Base Freq.

Depth Type Resonance

45 Auto Filter

100 368 Hz 15.0 k 0 30 % 100

LP.12,

LP.24,

HP.12,

HP.24

BP.12

BP.12,

BP.24

1 34 50

Base Freq.

Depth Type Resonance

46 LFO Filter

100 485 Hz 15.0 k 0 85% 100 LP.12

LP.12

LP.24,

HP.12,

HP.24,

BP.12,

BP.24

1 35 50

47

49

50

52

53

54

Parametric

EQ

Vocal

Distortion

Tube

Distortion

51 Guitar Amp

Tri Fuzz

Speaker

Simulation

Ring

Modulator

-16

48 Graphic EQ

-16

Distortion / Amp Simulation

Gain 1

+4 dB

200 Hz

+3 dB

+16

+16

1

1

1

1

1

Distortion

51

Drive

50

In Gain

60

In Gain

80

Type

5

Speed

100

100

100

100

8

LFO: 0.10 Hz

ENV: 0.005 s

RAND +

SINE: 1.0 Hz

0.40 Hz

Bits Resolution

LFO: 10.00 Hz

ENV: 0.500 s

RAND +

SINE: 100.0 Hz

55 LoFi

24 7 bit 6

Freq. 1

200 489 Hz 10.0 k

400 Hz

-16 -1 dB +16

0

Delay Gain

30% 100

Pre HP

50 120 Hz 1.00 k

1

1

-16

Drive

70

Low-Fuzz

51

EQ-Gain

0 dB

Depth

100

100

+16

0

20.0 kHz

25%

Tone

100

6.96 kHz 400 Hz

0.50

-16

Q 1

1.16

800 Hz

+3 dB

Delay

0.050

0.187 s 1.000

Pre LP

1.00

2.07 kHz 15.0

0

15.0

1

Presence

70

Mid-Fuzz

55

100 1

1 100 1

EQ-Frequency

200 Hz 1.44 kHz 10.0 kHz 0.50

Carrier-Freq.

Gain 2

+6 dB

1.6 kHz

-1

Flanger Level

100%

Damp

7.11 kHz

Gain

75

Hi-Fuzz

51

EQ-Q

2.24

Tone

100 Hz 308 Hz 10.0 kHz 200 Hz 2.00 kHz 20.0 kHz

0

Buzz Level

30%

Tab. 7.1: Overview of the individual parameters of effects types (continued on next page)

10.00

+16

100

-16

-16

0

Noise Gain

35%

+16

+16

100

1.00

100

100

10.00

100

0.001

0.020 s

Gain Left

Auto, -24 Auto

Off

0

0

1

1

—

Harmon. Kick

On

Mid Q

30

Harmon. Density

7

Stereo Balance

50%

—

On

50

7

100

—

Speaker Distance

4

—

18

0.10

1

1

1

1

—

LFO

20

Attack

0.005

0.022 s

Speed

4.84 Hz 20.00

Type

3

Tube Select

2

Cabinet Type

2

Drive

65

—

—

Mode

LFO

Noise HP

0.200

0.200

-1, 0 dB

0.150

100

1.000

0.150

+24 dB

2.000

0.050

0.050

—

Release

0.183 s

Release

0.243 s

—

—

Release

1.000

1.000

—

Mix

0 (off) 100% 100 (on)

Mix

0 (off) 100% 100 (on)

Mix

0 (off) 100% 100 (on)

Mix

0.050 s

0.005

Enhancer Freq.

2.50 k 12.5 kHz

Gate Resp.

0.037 s

Release

0.050 s

Auto

Auto

0.977s,

Auto

15.0 k

0.200

0.977s,

Auto

Gain Right

Auto,

-24

Auto +24 dB

0 (off)

Low

Band

Wide

Mix

High

0 (off) 100% 100 (on)

Band

Low

0 (off)

100% 100 (on)

Wide

Mix

High

100% 100 (on)

Sine,

Triangle

Saw Down

Saw Up,

Saw Down,

Square

Freq. 2

200 Hz 2.58 kHz 10.0 kHz 0.50

-16

3.2 kHz

+1 dB +16 -16

8

3

3

100

—

ENVELOPE,

RANDOM,

SINE

—

0

0

0

—

25

—

—

Mid Gain

10%

Bass Gain

60%

Mono Balance

50%

—

—

100

100

100

—

Speaker Compens.

50 %

—

100

0.005

Flanger Speed

0.050

0.202 Hz

-16

Mid EQ

-1 dB

-16

1

—

Mid EQ

0 dB

Hi Damp

50

—

—

Slewing

2.000

+16

+16

100

—

0

Release

0.061 s

Wave

Q 2

1.03

6.4 kHz

+3 dB

0%

Noise LP

2.000

10.00

+16

100

159 Hz 20.0 k 400 Hz 10.3 kHz 20.0 kHz

Mix

0

-16

40%

Gain

-1 dB

Mix

100

+16

0 (off) 100% 100 (on)

Mix

0 (off) 100% 100 (on)

Mix

0 (off) 100% 100 (on)

Mix

0 (off) 100% 100 (on)

0

0

-16

-16

0

0

0

0

0

0

0

Mix

100%

Mix

100%

Gain

-3 dB

Gain

-2 dB

Mix

100%

Mix

100%

Mix

100%

Mix

100%

Mix

100%

Mix

100%

Mix

100%

100

100

+16

+16

100

100

100

100

100

100

100


Name

Special FX

56 Vinylizer

57

58

59

Sampler

Vocoder

Voice

Canceler

60 Resonator

Min.

Edit A

Def.

Max.

Edit B

Min. Def.

Max.

Min.

Edit C

Def.

Max.

Min.

Edit D

Def.

20.0

Stop

0

Speed

45.0 rpm

Rec/Stop

Stop

Sensitivity

60%

80.0

Rec

100

20

LFO: 0.10 Hz

ENV: 0.005 s

RAND: 1.0 Hz

Bass Freq.

43 Hz

Speed

0.40 Hz

1.00 k

LFO: 10.00 Hz

ENV: 0.500 s

RAND: 100.0 Hz

0

Stop

Clicks Level

100% 100

Play/Stop

Stop Play

0

Scratch Level

50%

Speed

-1/2, Back Fwrd.

100

Forward,

+1/2

Mode Attack

In-L.,

Pulse

Pulse Noise 0.005 0.025 s 0.200

0

MS-Balance

50%

Depth

100 0

Treble Pan

50%

Carrier Freq.

100

0 40 % 100 200 800 Hz 10.0 k

0

Noise Level

45%

Mode

Loop Loop

Release

0.005 0.040 s

-6.0

Gain

+6.0 dB

Feedback

-100 -80%

Max.

100

Once

0.200

+6.0

+100

Combination

61

Chorus &

Reverb

62

63

Flanger &

Reverb

Leslie &

Reverb

65

66

67

68

69

71

Delay &

Reverb

Tremolo &

Reverb

Phaser &

Reverb

Chorus &

Delay

Flanger &

Delay

Tremolo &

Delay

0.050

0.050

0.50

-12

0.030

1.00

0.050

0.050

0.050

-12

0.50

0.235 s

Speed

4.04 Hz

Speed

0.306 Hz

Speed

0.318 Hz

Speed

0.318 Hz

Semitones

+4

Speed

0.73 Hz

Speed

0.547 Hz

Speed

0.256 Hz

Speed

8.00 Hz

Semitones

+4

Delay

5.000

5.000

8.00

+12

0.665

10.00

5.000

5.000

5.000

+12

20.00

0

Depth

70% 100

0

Depth

71%

Depth

90%

100

0 100

Cents

-50 +0 Cent +50

Feedback

0 40% 100

0

Depth

80%

Depth

100

0

0

0 100% 100

Depth

100% 100

Depth

80%

Cents

100

-50 +0 Cent +50

Depth

0 95% 100

Delay

5.0 ms 19.5 ms 50.0 ms

-80

0

0

Feedback

+80%

Doppler

80%

High Cut

10%

Type

+80

100

100

Stereo,

Spread

Spread

Ping

Pong,

Tape

0

Auto Mod.

20%

Feedback

100

0 70%

Mod. Delay

+80%

High Cut

100

5.0 ms 17.8 ms 50.0 ms

Feedback

-80 +80

0 0%

Auto Mod.

100

0 25% 100 0

0

0

0

0

0

0

0

0

0

0

Reverb Mix

50%

Reverb Mix

25%

Delay Mix

30%

Delay Mix

30%

Delay Mix

30%

Delay Mix

15%

Reverb Mix

40%

Reverb Mix

40%

Reverb Mix

25%

Reverb Mix

25%

Reverb Mix

50%

100

100

100

100

100

100

100

100

100

100

100

Edit E Edit F

Min.

Def.

Max.

Min.

Def.

Mix

Max.

Min.

Def.

Max.

-12

0

0

—

LFO

Tone

30

Rec Gain

0 dB

Frequency

18

—

—

Mode

LFO

50

0

50

—

ENVELOPE,

RANDOM

0

0

0

-12

—

Noise Freq.

39

Overdub Gain

0 dB

Resonance

25

—

—

Slewing

50

0

50

—

0% 100

0

0

Mix

100%

Mix

50%

100

100

0

Mix

100% 100

Mix

0 (off) 100% 100 (on)

Mix

0 100% 100

0.50

0.50

0.50

0.50

Decay

2.51 s

Decay

2.02 s

Decay

2.42 s

Decay

2.02 s

Decay

4.02 s

5.00

5.00

5.00

5.00

0.50

5.00

0.50

Decay

2.80 s

Decay

0.50

3.06 s

Delay Time

0.030

0.350 s

Delay Time

0.030

0.350 s

Delay Time

0.030

0.350 s

Delay Time

0.030

0.190 s

5.00

5.00

0.665

0.665

0.665

0.665

0

0

0

0

0

Hi Damp

30%

Hi Damp

25%

Hi Damp

30%

Hi Damp

30%

Hi Damp

30%

100

100

100

100

0

0

0

0

0

0

100

Hi Damp

30%

Hi Damp

20%

Delay Feedback

40%

Delay Feedback

40%

Delay Feedback

40%

Delay Feedback

40%

100

100

100

100

100

100

0

0

0

0

0

0

0

0

0

0

0

Mix

60%

Mix

60%

Mix

80%

Mix

100%

Mix

50%

Mix

70%

Mix

55%

Mix

65%

Mix

75%

Mix

65%

Mix

75%

100

100

100

100

100

100

100

100

100

100

100


7.2 MIDI implementation

Function

Basic

Channel

Mode

Note Number

Velocity

After Touch

Pitch Bender

Control

Progr. Change

System Exclusive

System Common

System

Real Time

Aux Messages

Default

Changed

Default

Messages

Altered

True Voice

Note ON

Note OFF

Key´s

Ch´s

True #

Song Pos

Song Sel

Tune

Clock

Commands

Local ON/OFF

All notes OFF

Active Sense

Reset

MIDI Implementation Chart

Transmitted

OFF, 1 - 16

OFF, 1 - 16

1,2,3,4

X

X

X

X

X

X

X

X

X

0,102 - 116

O (0-99)

1-100

X

X

X

X

X

X

O

X

X

X

Notes

O = YES, X = NO

Mode 1:

Mode 2:

Mode 3:

Mode 4:

OMNI ON, POLY

OMNI ON, MONO

OMNI OFF, POLY

OMNI OFF, MONO

Tab. 7.2: MIDI implementation chart

Recognized

OFF, 1 - 16

OFF, 1 - 16

1,2,3,4

X

X

X

X

X

X

X

X

X

0,102 - 116

O (0-99)

1-100

X

X

X

X

X

X

O

X

X

X

Parameter Name Display Range

Bank Select

Algorithm

Edit A

Edit B

Edit C

Edit D

Edit E

Edit F

EQ Low

EQ High

Mix

Store

In/Out

Combination Mode

Input Mode

External/Internal Mix

Tab. 7.2: Controller functions with MIDI

I.001 .. 100/U.001 .. 100

Algorithm Name

Depends on effect

Depends on effect

Depends on effect

Depends on effect

Depends on effect

Depends on effect

-16 .. +16 dB

-16 .. +16 dB

Depends on effect

U.001 .. U.100

BYP/0 .. 100%

SER 1, SER 2, PARA

MONO, STER

EXTN/INTN

111

112

113

114

107

108

109

110

115

116

103

104

105

106

MIDI Control

Number

0

102

Remarks memorized

Control Value Range

0 = ROM / 1 = RAM

0 .. 70

Depends on effect

Depends on effect

Depends on effect

Depends on effect

Depends on effect

Depends on effect

0 .. 32

0 .. 32

Depends on effect

0 .. 99

0 = BYP / 1 = MIX

0 = S1 / 1 = S2 / 2 = PA

0 = MONO / 1 = STER

0 = EXTN / 1 = INTR


8. Specifications

Analog Inputs

Connectors

Type

XLR and 1/4" TRS

RF filtered, servo-balanced input stage

Impedance 80 kΩ balanced

Nominal Operating Level -10 dBV or +4 dBu (selectable)

Max. Input Level +15 dBu at +4 dBu nominal level,

+1 dBV at -10 dBV nominal level

Analog Outputs

Connectors

Type

Impedance

Max. Output Level

XLR and 1/4" TRS

Electronically servo-balanced output stage

80 Ω balanced

+15 dBu at +4 dBu nominal level,

+1 dBV at -10 dBV nominal level

System Specifications

Bandwidth

SNR

THD

20 Hz to 20 kHz, +/- 3 dB

91 dB, unweighted, 20 Hz to 20 kHz

0.018% typ. @ +4 dBu, 1 kHz,

0 dBu input, gain 1

< -76 dB Crosstalk

MIDI Interface

Type 5-pin DIN-socket IN / OUT / THRU

Digital Processing

Converters

Sampling Rate

Display

Type

24-bit Sigma-Delta, 64/128-times oversampling

46.875 kHz

4-digit 14 segment alpha-numeric LED-Display

Power Supply

Voltage

USA/Canada 120 V~, 60 Hz

Europe/U.K./Australia 230 V~, 50 Hz

Japan 100 V~, 50 - 60 Hz

General export model 120/230 V~, 50 - 60 Hz

Fuse 100 - 120 V~: T 200 mA H 250 V

200 - 240 V~: T 100 mA L 250 V

Power Consumption

Mains Connection

15 Watts max.

Standard IEC receptacle

Physical

Dimensions (H x W x D) approx. 1 3/4 x 19 x 8" / 44 x 482,6 x 204,4 mm

Net Weight approx. 4 1/2 lbs / 2 kg

Shipping Weight approx. 6 2/3 lbs / 3 kg

BEHRINGER is constantly striving to maintain the highest professional standards. As a result of these efforts, modifications may be made from time to time to existing products without prior notice. Specifications and appearance may differ from those listed or illustrated.


FEDERAL COMMUNICATIONS

COMMISSION COMPLIANCE

INFORMATION

VIRTUALIZER 3D FX2000

Responsible Party Name:

Address:

Phone/Fax No.:

MUSIC Group Services US Inc.

18912 North Creek Parkway,

Suite 200 Bothell, WA 98011,

USA

Phone: +1 425 672 0816

Fax: +1 425 673 7647

VIRTUALIZER 3D FX2000 complies with the FCC rules as mentioned in the following paragraph:

This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and receiver.

• Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.

• Consult the dealer or an experienced radio/TV technician for help.

This device complies with Part 15 of the FCC rules. Operation is subject to the following two conditions:

(1) this device may not cause harmful interference, and

(2) this device must accept any interference received, including interference that may cause undesired operation.

Important information:

Changes or modifications to the equipment not expressly approved by MUSIC Group can void the user’s authority to use the equipment.


We Hear You

Behringer FX2000 User manual

User Manual

VIRTUALIZER 3D FX2000

High-Performance 3D Multi-Engine Effects Processor

Table of Contents

Thank you

Important Safety

Instructions

LEGAL DISCLAIMER

LIMITED WARRANTY

1. Introduction

1.1 The concept

1.2 Before you get started

1.3 Online registration

1.4 Control elements

2. Effects Algorithms

2.1 Reverb algorithms

2.2 Delay algorithms

2.3 Modulation and pitch shifter effects

2.4 Dynamic effects

PSYCHO

ACOUSTICS

2.5 Psycho-acoustic effects

2.6 Filter/EQ effects

2.7 Distortion effects and amp simulations

SPECIAL

FX

2.8 Special effects

2.9 Effects algorithm combinations

(multi-effects programs)

3. Operation

3.1 Effects structure

Algorithm No.

Effects structure

Algorithm No.

Effects structure

Algorithm No.

Effects structure

3.2 Calling up presets

3.3 Editing programs (Edit Mode)

3.4 Storing programs

3.5 Comparing an edited preset with the corresponding factory preset

(compare function)

3.6 SETUP mode

3.7 Restoring the factory presets

4. Applications

4.1 Level setting

4.2 Using the VIRTUALIZER 3D in the aux bus

4.3 Using the VIRTUALIZER 3D in the insert path

4.4 Using the VIRTUALIZER 3D as an effects device for instruments

4.5 Using the VIRTUALIZER 3D in a MIDI setup

5. MIDI Functions of the FX2000

5.1 Saving data via MIDI

6. Installation

6.1 Mains connection

6.2 Audio connections

6.3 MIDI connections

6.4 Selecting the operating level

7. Appendix

7.1 Parameter overview

7.2 MIDI implementation

8. Specifications

FEDERAL COMMUNICATIONS

COMMISSION COMPLIANCE

INFORMATION

We Hear You

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